I undertook the Fluid Ecologies project with Tracing the Pathway in May and June 2015. For five days we were artists in residence at the LAPSody Festival at the Theatre Academy University of the Arts in Helsinki. Shortly afterwards we travelled to Nuuk, Greenland, to take part in the PSi conference Fluid States North: Performances of Unknowing. This is a reflective essay I wrote soon after I arrived back in the UK.
Continue reading “Reflective Essay on the Fluid Ecologies Project”
If you enjoy nostalgia then find an old hard drive and get digging. I found this 2014 piece today. It’s a very early sketch of the Voices from the Village audio-walk I wrote for my PhD. I’d forgotten I’d written it. Apart from shamelessly ripping off JG Ballard, I’m pleased to see its an early attempt to fuse the critical and creative voices we all use in practice research projects . Ifind the present tense captures the experience of field research really well, which I use in my Good Night, Sleep Tight (Remix) article. Anyway, enjoy!
Continue reading “Regeneration”
Phrases like post-truth and fake news are closely associated with Brexit and Trump, but the antecedent of modern disinformation is Holocaust denial.
Holocaust denial is as much about the tarnishing of expertise as it is an anti-semitic conspiracy theory. But a conspiracy can only succeed if people Continue reading “The Politics of Denialism is Becoming the New Normal”
I teach a performative writing class on Rose Bruford’s MA in Actor and Performer Training. The activity of writing is considered performative in it’s capacity to create worlds out of language. The students are tasked with creating a Vade Mecum (latin for ‘Go With Me’) as part of their final submission. Teaching this module has given me the chance to reflect on how documenting classroom activities need not be a perfunctory exercise or Continue reading “Vade Mecum at Rose Bruford College”
Ella Road’s The Phlebotomist (currently playing at Hampstead Theatre) is part of a growing trend of plays dealing with surviving the everyday. It has thematic resonances with Mike Bartlett’s Game, Philip Ridley’s Radiant Vermin and Lucy Kirkwood’s The Children, all plays that put the desperate desire to create a stable home in conflict with the responsibilities we have to future generations. Continue reading “The Domesticated Survival Play”